THEATER REVIEW: 'Hair' grows on you by Act II

Iris Fanger

Friday

Mar 25, 2011 at 12:01 AMMar 25, 2011 at 5:37 AM

Once upon a time when the world – and we – were younger, a musical slammed onto Broadway that reflected the divided mood of the nation. It seemed brave and true to sing about a new age of peace and understanding, particularly in the musical idiom of rock ’n’ roll.

Once upon a time when the world – and we – were younger, a musical slammed onto Broadway that reflected the divided mood of the nation. It seemed brave and true to sing about a new age of peace and understanding, particularly in the musical idiom of rock ’n’ roll.

“Hair” opened on Broadway in 1968, when the flower-child culture took to the streets in a revolution fueled by sex, drugs, and the determination to change existing rules. The show was a sensation, not only for its daring and timeliness but for the Gerome Ragni, James Rado, Galt MacDermot score of songs that became engraved in our collective psyche: “Aquarius,” “Easy To Be Hard,” “Hare Krishna,” Good Morning Starshine” and “Let The Sunshine In,” among them. That the plot-line was thin and the second act a mash-up hardly mattered, making the show a legendary game-changer for the American musical theater.

Some 40 years later, the production that won the 2009 Tony for Best Musical Revival has settled into the Colonial Theatre. The problems have not been solved so much as overrun by a vibrant troupe and the staging by American Repertory Theater artistic director Diane Paulus, along with Karole Armitage’s choreography.

The actors are blasted off the stage, into the aisles, and onto the laps of the audience.

If the conceit is sometimes overdone, and there’s a bit too much of the in-your-face antics, no matter. Paulus has assembled an appealing, multi-colored cast who look to be living their roles while singing out their hearts. And not to worry about the oil and nuclear energy vs. wind and solar power debate, because all we need is the mega-wattage of this gang to light the city lights.

The barefoot, long-haired cast is led by Steel Burkhardt as Berger, the wild man, and Paris Remillard, as Claude, the more sensitive youth who has just received his draft notice.

They live on a bare stage that represents the streets and parks where they gather their “tribe” to make love, not war, backed by a rocking 10-piece orchestra, also costumed like hippies. Most of Act I is an extended concert of marvelous songs, zinged out to the audience, or delivered in the aisles. (I had Claude balanced on the arm of my aisle seat for one number). The story does not take center stage until the Act I finale of the draft-card burning, and the legendary nude scene.

Armitage has done a good job of integrating the choreography into the movement, rather than setting up dance “numbers.” Although the songs are divided among the actors, other stand-outs include Caren Tackett as Sheila, the activist who marches on the FBI building in Washington, Phyre Hawkins as Dionne, who belts out “Aquarius,” and Josh Lamon, warbling a surprise attack on middle-class morality as Margaret Mead.

By now, the shocking aspects of the show are ho-hum – the four-letter words, the simulated sex, even the shedding of clothes (played under very dim lights).

The defiance of burning one’s draft card brings quaintness to the action, because our 18-year-olds will never be forced to fight, given an all-volunteer military. However, Paulus emphasizes the conflict between the tribe’s love of country and the higher morality of freedom, leaving the audience with an unforgettable final tableau. Forty years later, “Hair” is a show to revive memories for some of us, and to make a new generation ponder who we were and ask why we are still sending our young to fight on foreign shores.

HAIR Book and lyrics by Gerome Ragni and James Rado; music by Galt MacDermot. Revival directed by Diane Paulus. At the Colonial Theatre, 106 Boylston St., Boston. Through April 10. 800-982-2787 or BroadwayAcrossAmerica.com.

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